Making waves with furniture designer and maker John Lee

The first time I met furniture designer John Lee was some years ago when I was prowling around London’s 100% Design show, says Carol O’Callaghan.

I spotted a curvy sideboard with a finish like rippling sand afte rthe tide has gone out and it prompted an uncontrolled reflex.

I did the forbidden, reaching out to touch, gliding my hands across its textured surface. Of course, I was caught — by the maker himself — but he didn’t tell me off. It seems everyone was at it. Even before the exhibition opened, the piece, called Farraige, had been bought.

“I was trying to generate interest in my work,” says John.

“Duff Tisdall in Dublin held an open night prior to 100% Design and I dropped in the piece. About an hour later I got a call from a man who introduced himself as Prince D’Arenberg and he wanted to buy it — I thought it was a wind-up.”

But it wasn’t, and soon John and his wife Lillian were on their way from County Kildare to oversee its installation in the prince’s house in Switzerland. It’s a technically challenging piece with sweeping curves and no handles on its 25 drawers.

“There’s no book to show you how to do it,” says John. “You’re drawing on everything you’ve learned over the years.”

This learning process started when he was just three years old and used to watch his father working with wood from the safety of a tea chest masquerading as a play pen.

Later, while studying furniture design at GMIT Letterfrack, he was exposed to the influence of mentors like the late Alan Peters and Andrew Varah.

“At the end of my time there, Andrew offered me a six-month placement at his studio in England: I stayed five years.”

His time with Varah introduced him to techniques like marquetry, and he credits Varah for teaching him about customer service in an industry where creativity and commercial realism are rare bed-fellows.

So, returning home armed with technical and business skills after a stint with a Dublin furniture-maker working on large-scale boardroom tables, he set up on his own, building a workshop behind his father’s house in 2004.

“I’m a one man band with a bit of help from my brother-in-law and a local man from time to time, and my dad who was a woodwork teacher calls in with advice.”

So it’s surprising to know this little operation was also responsible for the design and making of the new presidential chair for the inauguration ceremony of President Michael D Higgins.

“I put in a tender to the OPW during Year of Craft 2011 to replace the original vice-regal throne which had been used up to then. The brief was strict but I was inspired by the notion of ‘céad míle fáilte’ and thought of President Mary McAleese with her greeting of people with her arms open.”

This led to his design including arms which sweep as if welcoming the sitter. The back is broad, like shoulders standing proud, with an aesthetic that speaks of refinement and skill — and it’s fit for purpose.

“It had to have a presence,” says John, “but without being flamboyant.”

So who are his clients, apart from princes and presidents?

“Two to three years ago, I had lots of clients in London but now I’m getting major commissions at home. With each piece taking two to three months, a client can keep me busy for a year.”

While great for business, there’s less time for exhibitions — which is where he experiments and innovates. But he’s certainly not short of inspiration. Even though he lives in a landlocked county, the sea, weather and erosion are strong influences.

“My best designing is when I’m out on my bike for three or four hours. I’m in a running club too so I head up the mountains and come back and start scribbling.” But he confesses to a love of ceramics also.

“I’ll come back as a ceramicist in my next life,” he says with a chuckle.

“I’d love to get the fluidity of Sara Flynn’s pieces into my work. Timber is rigid but you can squeeze ceramic into shape.” Family is also an influence, not only his dad but his grandfather who was a carpenter, and it seems John in turn is influencing his children too.

“My children John and Aine play with wood in the workshop. They have their own tools and they’re fearless. John has been making dovetails since he was four by watching me do it.” I can see it already, a sign above the door: John Lee, Son & Daughter.

* Next week we’re styling knick knacks